text:
Q: Finding a better approximation to a prime number relation The basis of this problem, and that which allows for the approximations to be made here, can be summarised in one approximation:
$$\Biggl(\frac{n^k -{\lfloor n^{\frac{1}{k}} \rfloor}^{k-1}\gcd({\lfloor n^{\frac{1}{k}} \rfloor}^{k-1},\Bigl\lfloor \frac{p_n^{k-1}}{n^{k-1}} \Bigr\rfloor)}{n^k -{\lfloor n^{\frac{1}{k}} \rfloor}\gcd({\lfloor n^{\frac{1}{k}} \rfloor},\Bigl\lfloor \frac{p_n^{k}}{n^{k}} \Bigr\rfloor)}\Biggr)^{\frac{1}{k}}
 \approx 1\quad\forall n,k \in \mathbb N\backslash {\{1}\}$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(A0)$$
$$\frac{\Bigl\lfloor \bigl(n^k -{\lfloor n^{\frac{1}{k}} \rfloor}^{k-1}\gcd({\lfloor n^{\frac{1}{k}} \rfloor}^{k-1},\Bigl\lfloor \frac{p_n^{k-1}}{n^{k-1}} \Bigr\rfloor)\bigr)^{\frac{1}{k}}\Bigr\rfloor
}{\Bigl\lfloor \bigl(n^k -{\lfloor n^{\frac{1}{k}} \rfloor}\gcd({\lfloor n^{\frac{1}{k}} \rfloor},\Bigl\lfloor \frac{p_n^{k}}{n^{k}} \Bigr\rfloor)\bigr)^{\frac{1}{k}}\Bigr\rfloor} =1\quad\forall n,k \in \mathbb N\backslash {\{1}\}$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(A1)$$
$${\gcd\Bigl({\lfloor n^{\frac{1}{k}} \rfloor},\Bigl\lfloor \frac{p_n^k}{n^k} \Bigr\rfloor\Bigr)}\quad \Biggl|\quad \lfloor n^{\frac{1}{k}} \rfloor \gcd\Bigl({\lfloor n^{\frac{1}{k}} \rfloor}^{k-1},\Bigl\lfloor \frac{p_n^{k-1}}{n^{k-1}} \Bigr\rfloor\Bigr) $$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(A2)$$
Defining the above ratio as varsigma:
$$\varsigma_{n,k}= \frac{{{\lfloor n^{\frac{1}{k}} \rfloor}^{k-1}\gcd\Bigl({\lfloor n^{\frac{1}{k}} \rfloor}^{k-1},\Bigl\lfloor \frac{p_n^{k-1}}{n^{k-1}} \Bigr\rfloor\Bigr)}
}{{\gcd\Bigl({\lfloor n^{\frac{1}{k}} \rfloor},\Bigl\lfloor \frac{p_n^k}{n^k} \Bigr\rfloor\Bigr)}}$$
We have the following:
$n \lt 2^k \Rightarrow \varsigma_{n,k}=1$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(A3)$$
The maximum value of the  integer remainder of the division of $n^k+m$ by $\gcd(\Bigl\lfloor \frac{p_n^{\, a}}{n^{\,b}} \Bigr\rfloor,n^c)$ is equal to $m$, when $a \gt 1$, $b \gt 1$ and $1 \leq c \leq k$.
This stated in inequalities:
$$a \gt 1\land b \gt 1 \land 1 \leq c \leq k \Rightarrow -m \leq n^k-\Biggl\lfloor\frac{n^k+m}{\gcd(\Bigl\lfloor \frac{p_n^{\, a}}{n^{\,b}} \Bigr\rfloor,n^c)}\Biggr\rfloor\gcd\Biggl(\Bigl\lfloor \frac{p_n^{\, a}}{n^{\,b}} \Bigr\rfloor,n^c\Biggr) \leq 0$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(A7)$$
So the question I am now asking, for that fun person that wants to close this page, is  how do I establish a proof for (A5) and (A7)  that will  be rigorous and indisputable?
note that for now, I will leave the lemma as the restriction
$${\{a,b}\} \subset \mathbb N \land c \in {\{1,2,3,...,k}\} \Rightarrow n^k+m-\Biggl\lfloor\frac{n^k+m}{\gcd(\Bigl\lfloor \frac{p_n^{\, a}}{n^{\,b}} \Bigr\rfloor,n^c)}\Biggr\rfloor\gcd\Biggl(\Bigl\lfloor \frac{p_n^{\, a}}{n^{\,b}} \Bigr\rfloor,n^c\Biggr) \in {\{0,1,2,...,m}\}$$
But there most definitely exists congruence relations that have dependence in $(n,k)$ that allow us to reduce this condition to a specific subset of the least residue system modulo $m+1$ stated on the righthand side of the implicative arrow.
ADDITION NEEDED:
I apologize a lot if making another edit here again cause the website to spiral into chaotic unrest somehow, but the following lemma pertaining to the residues of the floor function of natural numbers raised to unit fraction exponents (as we see playing one of the most significant role in the original formula I found and stated in this discussion page), is very significant to the context as previously stated:
$$y \in{\{j \in \mathbb N : j=k^m+1 \land m \in\mathbb N\backslash {\{1}\} \land k \in\mathbb N }\}\Rightarrow  \not\exists\, n \in \mathbb N \backslash {\{1}\}:\lfloor y^{\frac{1}{m}}\rfloor^{m}\equiv y (\operatorname{mod}n)$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(\operatorname{Residue000})$$
Attempting to simplify the above:
$$\exists\,\\ m \in \mathbb N \backslash {\{1}\}\,\,: (y-1)^{\frac{1}{m}}\equiv 0 (\operatorname{mod}1)\Rightarrow  \not\exists\, n \in \mathbb N \backslash {\{1}\}:\lfloor y^{\frac{1}{m}}\rfloor^{m}\equiv y (\operatorname{mod}n)$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(\operatorname{Residue001})$$
Yesterday I noticed quite a strong fit for the approximation:
$$\vartheta _{{n}}=\min\Biggl(\mathcal D\Bigl(n\cdot\Bigl\lfloor \frac{p_n}{n} \Bigr\rfloor\Bigr) \backslash {\{1}\}\Biggr)$$
$$n-\gcd(\bigl\lfloor \sqrt {n} \bigr\rfloor ,\vartheta _{{n}})) \approx A \cdot (n-1) +B$$
where $A \approx 1$ and $B \approx -1/2$ and $\mathcal D(n)$ denote the set of all divisors of $n$, $p_n$ is the $n^{th}$ prime.
$$\sqrt{\bigl( n^{2}-\bigl\lfloor \sqrt {n} \bigr\rfloor\cdot\gcd(\bigl\lfloor \sqrt {n} \bigr\rfloor ,\vartheta _{{n}})\bigr)}\sim n $$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R1)$$
$$\sqrt{\bigl( n-\gcd(n ,\vartheta _{{n}})\bigr)}+\frac{1}{\sqrt{n}}\sim \sqrt{n}$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R2)$$
$$\sqrt{{n}^{2}-\max \left(  \lfloor  \sqrt{n} \rfloor ,n
 \right) \min \left( \gcd \left( \lfloor \sqrt{n} \rfloor,\vartheta_n \right) ,\gcd \left( n,\vartheta_n  \right)  \right)
}+1+\delta_{{n}}\sim n$$
Where $\delta_n \in {\{-\frac{1}{2},0,\frac{1}{2}}\}$ is a discrete function for which I am unable to determine as yet.
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R3)$$
So I guess the best idea now would be for me to find either a value on $\mathbb N$ that satisfies neither of the following equalities:
$$n- \Biggl(\Bigl\lfloor\sqrt {{n}^{2}- \lfloor  \sqrt{n}
 \rfloor \cdot \gcd \left( \lfloor  \sqrt{n} \rfloor ,\vartheta_n \right) } \Bigr\rfloor+1\Biggr) = 0 $$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R4)$$
$$n-\Biggl(\Bigl\lfloor  \sqrt{{n}^{2}-\min \left(  \lfloor
 \sqrt{n} \rfloor ,n \right)\cdot\min\left(\gcd ( \lfloor \sqrt{n}\rfloor,\vartheta_n) ,\gcd ( n,\vartheta_n)
  \right) }\Bigr\rfloor +1\Biggr) = 0$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R5)$$
Figure 1:

Figure 2:

Defining a generalisation of  vartheta:
$$\vartheta _{{n,k}}=\min\Biggl(\mathcal D\Bigl(n^{k}\cdot\Bigl\lfloor \frac{p_n^{k}}{n^{k}} \Bigr\rfloor\Bigr)\, \backslash\, {\{1}\}\Biggr)$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R6)$$
Will allow for the following asymptotic relation as we would intuitively expect from the nature of the generalisation and the nature of $(R2)$:
$$(n^k -\lfloor n^{\frac{1}{k}} \rfloor\gcd(\lfloor n^{\frac{1}{k}} \rfloor,\vartheta _{{n,k-1}}))^{\frac{1}{k}} \sim n \quad \forall k \in \mathbb N\backslash {\{1}\}$$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R7)$$
Which is based on the following equalities:
$$\lfloor (n^k -\lfloor n^{\frac{1}{k}} \rfloor\gcd(\lfloor n^{\frac{1}{k}} \rfloor,\vartheta _{{n,k-1}}))^{\frac{1}{k}} \rfloor+1=n\quad \forall k \in \mathbb N\backslash {\{1}\} $$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R8)$$
$$\lfloor (n^k -\gcd(\lfloor n^{\frac{1}{k}} \rfloor,\Bigl\lfloor \frac{p_n^{k}}{n^{k}} \Bigr\rfloor))^{\frac{1}{k}} \rfloor+1=n\quad \forall k \in \mathbb N\backslash {\{1}\} $$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R9)$$
$$\lfloor (n^k -{\lfloor n^{\frac{1}{k}} \rfloor}^{k-1}\gcd({\lfloor n^{\frac{1}{k}} \rfloor}^{k-1},\Bigl\lfloor \frac{p_n^{k-1}}{n^{k-1}} \Bigr\rfloor))^{\frac{1}{k}} \rfloor+1=n\quad \forall k \in \mathbb N\backslash {\{1}\} $$
$$\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad\quad(R10)$$

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text:
Oakland Press staff honored with journalism awards
By Ann Zaniewski |
PUBLISHED: April 7, 2011 at 5:08 a.m. | UPDATED: June 17, 2021 at 9:38 a.m.
Reporters and editors from The Oakland Press won several awards Wednesday at the Detroit Chapter of the Society of Professional Journalists' annual banquet.
The event, held at the San Marino Club in Troy, recognizes the best in local journalism.
In the spot or breaking news category, reporters Dave Phillips and Carol Hopkins won a first-place award for their coverage of the medical marijuana raids in Oakland County. Phillips was also honored with a third-place honor for "Fights Prompt Lockdown at Pontiac High," a story about the chaos that erupted at a school when families of a shooting suspect and victim got into an altercation. Sports writer Paula Pasche took second place for "Lions pack it up."
In the general reporting category, reporter Shaun Byron was honored with a third-place award for his coverage of a contentious proposal to replace the city of Pontiac's police force with the Oakland County Sheriff's Office. Reporter Diana Dillaber Murray received an honorable mention for her coverage of a Pontiac school district teacher's election to the school board and the controversy over whether she could serve in both positions. Hopkins won a second-place honor for her series on medical marijuana.
In the features reporting category, sports writer Keith Dunlap received an honorable mention for "Ready to contribute, again," a feature on Lake Orion baseball players who nearly died in an outfield collision. Features reporter Gary Graff won second place for "Back to Reality," a rare interview with Eminem. Pasche placed third for a story about Caleb Campbell, a first lieutenant in the Army and a Detroit Lions rookie.
Pasche was honored again with a first-place award in the sports columnist category for her columns about the Detroit Lions.
Oakland Press Executive Editor Glenn Gilbert took home a second-place award in the news columnist category for his columns that dealt with Deputy County Executive Robert Daddow, the bad cop of Oakland County; how immigrants can help build a new Michigan; and the need to fix Michigan's medical marijuana law.
In the single editorial category, Editorial Page Editor Al Adler won a second-place award for "U.S. should look to Israel." Reporter Charles Crumm placed third in the same category.
Adler also won a second-place award for his series of editorials about the issues surrounding the city of Pontiac and a proposal to contract police services with the Sheriff's Office.
Copy editor Jeff Hoard's work related to the death of Ernie Harwell won first in the headline writing category and first in the front page design category. Hoard was also honored with a second-place award in the editorial page design category.
Copy editor Nicole Beattie placed first in the feature page design category.
Photographer Vaughn Gurganian placed second in the news photo category for his pictures of the aftermath of a fatal car accident that killed a Lake Orion man. Gurganian was also honored with a third-place award in the feature photo category and a second-place award in the sports photo category.
The Oakland Press competed against other publications of a similar circulation size.
Also at the banquet, former Oakland Press publisher Bruce McIntyre won a Chapter President's Award.
Lifetime Achievement Awards were presented to Charles Eisendrath, who directs two prestigious journalism programs at the University of Michigan; Maynard "Mac" Gordon, who has covered the automobile industry for 67 years; and Robert Sklar, the recently retired editor of Detroit Jewish News.
John Carlisle, aka Detroitblogger John, was named the Journalist of the Year. Detroit Free Press reporter Gina Damron was named Young Journalist of the Year.
Five journalism scholarships were presented to local college students. The Lawrence A. Laurain Scholarship is named after a former president of the Detroit SPJ chapter who once worked as city editor of The Oakland Press.
Ann Zaniewski

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At the Zlatna roza, or Golden Rose, Film Festival in 2008, Ernestina Shinova won the Best Leading Actress Award for her performance in Hindemith, a film directed by her husband Andrey Slabakov. She worked double time to earn it – she plays both main characters, who spend their days obsessively watching commercials and buying the latest Hindemith brand products. A parody of the nouveau riche's consumer lifestyle, the film strikes a rare balance of humour and melancholy.
Although she has hit it big on the Bulgarian screen, Shinova considers herself a "citizen of the world." She lived in Italy for nine years after winning a competition to study acting. However, nostalgia and her wish to give birth to her daughter, Yoanna, in Bulgaria brought her back home.
What was the hardest part about filming Hindemith?
I had to sacrifice my vanity to a large extent: to play two different characters forced me to distort my own appearance. However, I'm not afraid of looking ugly on screen as long as it serves the role. Also, we shot the film in the fields of Gorublyane near Sofia during an exceptionally cold summer. I had two silk dressing gowns to help me stay cool in the heat, but the weather didn't cooperate.
What is the film's message?
The film's main theme is truly universal – how society has changed into a mass of consumers. This raises the question, "What are we really living for?" You don't need to make a high-brow film to communicate a serious message. Art is infinitely rich in its means of expression. That's what we're trying to show with our film – that even while laughing you can get the message; you don't necessarily need to be crying. I really like those viewers who chuckle throughout the film's 100 minutes and afterwards say "Wow, what a sad film!" The film is meant to entertain and to get people to think about the society we live in – you can't get anywhere in life merely by being a consumer. It reminds me of a museum of useless things where an expensive pen made by NASA for use in space was on display next to the simple pencil Gagarin used to write while in orbit. The problem is our constant desire for newer and more expensive things that in the end we don't really need.
Hindemith is part of Andrey Slabakov's Travelling Bulgarian Cinema project and will be shown all over the country. How do you think audiences will react to it?
Such initiatives have convinced me that it's not true that Bulgarians don't like watching Bulgarian cinema. People don't go to the movies just for fun: they take an active interest in them and search for new films. Hindemith communicates with the audience on many levels and has also resonated well with foreigners. In future we have plans to expand the programme.
What film would you recommend to foreigners in Bulgaria?
Of course, Hindemith – I've seen with my own eyes that foreigners enjoy it. I recently found myself at a showing of Svetoslav Ovcharov's new film The Only Love Story Hemingway Didn't Write, which I wouldrecommend too. I don't think Bulgarian films have to be about Communism to capture people's attention. That topic has long ceased to interest young people.
I'm crazy about travelling. Before my daughter was born, I would hit the road with only a toothbrush, cash and my passport. Now, of course, I have to take along a lot more stuff, depending on where we're going. Once I ended up almost at the North Pole in just a T-shirt, so since then I always take extra clothes with me. I lived in Italy for nine years and still one half of me is there, the other here. Travelling means you are communicating with the world.
Why a citizen of the world?
I've talked with many foreigners and many Bulgarians abroad from all walks of life. Not all of them have been very well educated, some can neither read nor write, but I find their conversation always highly stimulating. I always try to get to know people, as they are what matters in a country. It is they who create a nation's image, not the natural landscape or the sea or beautiful buildings. What place in the world would you like to visit most?
China. That's my dream. I have some friends there, so I think I would be able to get a deeper look at the country and not just the tourist attractions.
One of my favourite things is to go to a sanatorium – it's quiet, calm and there are people to take care of me. There I can totally relax. I also love the absolute wilderness of the Strandzha, where I can hike around and imagine the rituals that were performed there in honour of the goddess Isis. I love being out in nature, so Bulgaria is ideal for holidays.
What are your favourite places in Bulgaria?
The Belogradchik Rocks are a magical and divine place. If the makers of The Lord of the Rings had seen the place, they would've shot the film there – it's the perfect home for elves. It's especially picturesque in autumn – the grass is still bright green, the trees are a brilliant red, like in a fairy-tale. One other favourite place for me is the village of Brashlyan in the Strandzha. There you can find temples to Isis and all sorts of ancient mysteries all over the mountains. The atmosphere in the forests is very mystical and intriguing.
Any spots you'd like to hide from foreigners?
Yes, but I'll keep them a secret – not because of some misguided patriotism, but because I hope we Bulgarians will take care of these places.


If you're an aspiring MBA living and/or working in Houston, be sure to attend The MBA Tour in Houston July 17, 2018 5:00 PM - 09:30 PM JW Marriott Houston at 5150 Westheimer Rd, Houston, TX 77056. Do NOT park at The Galleria - the event is across the street, on the northeast corner of Sage and Westheimer.
Several times, I have represented Veritas Prep at this premier event, which attracts hundreds of the best GMAT prep students in Houston, all seeking MBA admissions advice from actual staff and application committee members from the world's top MBA programs.
By the way, Stephanie Millner, a fellow Babson College alum, organizes this and 64 other events globally every year. MBAcademy looks forward to cross marketing the event in 2019.
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You can expect a lot from the 2019 Toyota RAV4. Under the hood you'll find a 4 cylinder engine with more than 200 horsepower, providing a smooth and predictable driving experience. Well tuned suspension and stability control deliver a spirited, yet composed, ride and drive Top features include front dual zone air conditioning, 1-touch window functionality, tilt and telescoping steering wheel, power moon roof, a power rear cargo door, lane departure warning, cruise control, and much more. Toyota ensures the safety and security of its passengers with equipment such as: dual front impact airbags with occupant sensing airbag, front side impact airbags, traction control, brake assist, ignition disabling, an emergency communication system, and 4 wheel disc brakes with ABS. Sophisticated all wheel drive technology maintains a firm grip on the road. We pride ourselves in consistently exceeding our customer's expectations. Please don't hesitate to give us a call.


I guess Im just at a point were being big is not a priority for me. I actually am in a soccer league and just feel the weight....Im 5'11" weight 213 pounds and I would love to get down to like 180 185.
Right now I do cardio 30 minutes 3 times a week and I also play 110 minutes of soccer, not running all of the 110 minutes but they never take me out of the game. this is were Im feeling the little weight.
Do you want to lose muscle in particular? Are you already lean?
try stopping eating at meals when you are 80% full. Do that, and be consistent for a few weeks and you will see results.


Sure, there's the odd movie, music or TV reference here, but for the most part, this poster by artist Slovenian artist Matej Jan is one giant who's who of the heroes of the video game world, past and present.
Go on, look closely. Everything from Deus Ex to Day of the Tentacle is there, via Mirror's Edge and Sam & Max.
What's cooler than looking at it on a screen? Buying it on exquisite canvas print, which Jan is offering on his site.


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instructional design and online learning.
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We believe learning technology should have a seamless onboarding experience and require little to no user training to get off the ground which is why we have partnered with Microsoft and Google to rethink workplace education.
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Clock is deeply integrated into the productivity tools we use in our day-to-day activities including Ms Office,Google Drive, Dropbox and many more.
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text:
SEC Approves Amendments To The Corporate Financing Rule Relating To Rights Of First Refusal
Notice Comments
SUGGESTED ROUTING
On September 29, 1995, the Securities and Exchange Commission (SEC) approved amendments to the Corporate Financing Rule, Article III, Section 44 of the NASD Rules of Fair Practice relating to rights of first refusal. The amendment continues to permit the use of rights of first refusal, but prohibits an underwriter from receiving a right of first refusal to underwrite or participate in the issuer's future offerings that:
have a duration of longer than three years;
have more than one opportunity to waive or terminate the right in consideration of any payment of fee; and
are paid other than in cash.
The amended rule also requires that a right of first refusal has a compensation value of one percent of the offering proceeds or the dollar amount contractually agreed to for waiver or termination of the right. The amendment prohibits payment of any fee to waive or terminate a right of first refusal that has a value in excess of the greater of one percent of the original offering (or an amount in excess of one percent if additional compensation is available under the compensation guideline of the original offering) or five percent of the underwriting discount or commission paid in connection with future offering. The full text of the amendment, which becomes effective January 1, 1996, follows the discussion below.1
Background And Discussion Of The Rule Change
The NASD® developed its policy on the valuation of rights of first refusal in the early 1970s. Rights of first refusal are typically negotiated in connection with an issuer's initial public offering (IPO) and grant the underwriter a right to underwrite or participate in any future public offerings, private placements, or other financings by the issuer for a certain period of years.2 The NASD values rights of first refusal as a noncash item of compensation at one percent of the offering proceeds and currently limits the duration of the right to five years. To the extent that an underwriting agreement includes a provision specifying a dollar amount for the waiver or termination of a right of first refusal, the Corporate Financing Rule also requires that the right of first refusal be valued at the dollar amount contractually agreed to for waiver of the right in place of the one percent valuation.3
The NASD believes that members should be permitted to negotiate to waive or terminate a right of first refusal if the issuer wishes to use a different underwriter to subsequently raise additional capital through a public or private offering of its securities, provided that amounts negotiated are limited to an amount that has some relation to the size of the subsequent offering in which the member is not participating. The NASD is concerned that smaller issuers entering into these agreements may not be in a position to evaluate fully the ramifications of agreeing to a right of first refusal with a five-year term. The NASD staff rarely sees a right of first refusal with a term of less than five years, thus there is a concern that the duration of rights may not be freely negotiated by the issuer and the underwriter. The NASD has observed that certain underwriters routinely negotiate to receive rights of first refusal at the time of an IPO and later negotiate to waive or terminate their rights, without any original intent to underwrite any subsequent offering of securities by the issuer.
The NASD is concerned that an issuer may find it difficult to negotiate appropriate underwriting compensation with a new underwriter, where the issuer has determined to sever its relationship with its former underwriter and the former underwriter requires a substantial payment to waive or terminate its right of first refusal. The NASD has determined that underwriters should not be permitted to avoid underwriting compensation limits by negotiating to waive or terminate a right of first refusal with no limitation whatsoever on the amount of compensation they might negotiate to receive.
Three-Year Duration
Currently, Subsection 44(c)(6)(B)(v) of the Corporate Financing Rule prohibits, as unreasonable, any "right of first refusal" regarding future public offerings, private placements or other financings that has a duration of more than five years from the effective date of the offering. The NASD has determined that a right of first refusal with a duration of five years is overreaching and that three years are more appropriate. The NASD has, therefore, amended Subsection 44(c)(6)(B)(v) to reduce the duration of the right of first refusal from five years to three years.
Number Of Payments For Waiver/Termination
The NASD is also amending the Corporate Financing Rule to address the practice of certain underwriters to routinely negotiate to receive rights of first refusal at the time of an IPO and later negotiate, repeatedly, to waive or terminate their rights, without any original intent to actually underwrite any subsequent offerings of securities by the issuer. The NASD has amended the Corporate Financing Rule to add new subparagraph (v)(2) to Subsection 44(c)(6)(B) to limit a member to one opportunity to waive or terminate a right of first refusal in consideration of any payment or fee. An underwriter that does not wish to terminate its right of first refusal for future offerings may preserve its right by waiving its participation in a particular offering without accepting payment for such waiver.4
Limitation On Waiver/ Termination Compensation
The NASD believes that members should be permitted to negotiate to waive or terminate a right of first refusal if the issuer wishes to use a different underwriter to subsequently raise additional capital through a public or private offering of its securities. However, the NASD believes that the amounts negotiated for the waiver or termination of the right should be limited to an amount that has some relation to the size of the subsequent offering in which the member is not participating. The NASD has, therefore, adopted an amendment limiting the amount of such waiver/termination payments by adding a new subparagraph (vi)(1) to Subsection 44(c)(6)(B) to the Corporate Financing Rule to prohibit any payment to waive or terminate a right of first refusal that has a value in excess of the greater of one percent of the original offering (or a higher amount if additional compensation is available under the compensation guideline applicable to the original offering) or five percent of the underwriting discount or commission paid in connection with the future offering (including any overallotment option that may be exercised), regardless of whether the payment or fee is negotiated at the time of or subsequent to the original public offering.5
The one percent limitation reflects the NASD's belief that it is appropriate that the former underwriter be permitted to negotiate a fee that is at least equal to the valuation of the right of first refusal in connection with the NASD's review of the original offering if the issuer wishes to sever its relationship with the former underwriter. The five percent alternative limitation reflects the NASD's belief that the former underwriter that assumed the risk of distributing the issuer's IPO should be allowed to participate or equitably benefit in the issuer's subsequent offering of securities, including any overallotment option that may be exercised, regardless of whether the payment or fee is negotiated at the time of or subsequent to the original public offering.
Cash Payment Requirement
The NASD has also adopted new subparagraph (vi)(2) of Subsection 44(c)(6)(B) of the Corporate Financing Rule to specify that compensation to members for waiving or terminating a right of first refusal must be in cash. The NASD believes this provision will limit the waiver/ termination payment to a percentage of the capital raised in the secondary offering and protect the company's shareholders from dilution from issuing shares to a former underwriter.
Implementation Of Rule
The rule change is applicable to filings that become effective with the SEC on or after January 1, 1996. Thus offerings filed with the NASD Corporate Financing Department that have not become effective with the SEC before January 1, 1996, must comply with the rule change, regardless of whether the Corporate Financing Department has previously issued an opinion that it has no objections to the terms and arrangements.
Questions about this Notice may be directed to the Corporate Financing Department, at (301) 208–2700.
1 Securities Exchange Act Release No. 34–36303 (September 29, 1995); 60 F. R. 52232 (October 5, 1995).
2 Rights of first refusal are also granted in connection with private venture capital investments and leveraged buy-out transactions. The rights granted in connection with private venture capital investments are to underwrite the issuer's initial equity public offering and, therefore, would not normally be considered compensation received in connection with the issuer's IPO. Rights granted in connection with leveraged buy-out transactions are for future financings of the issuer and may be considered received in connection with the issuer's offering of new equity securities or in connection with the secondary offering of debt securities by private debt-holders of the issuer.
3 Subsection 44(c)(3)(A)(ix) has been amended to make the rule language consistent with Subsection 44(c)(6)(B)(v), and add the words "or terminate" to clarify that the dollar amount contractually agreed to by the issuer and underwriter to waive or terminate the right of first refusal will be considered in lieu of the one percent compensation valuation.
4 The NASD anticipates that the former underwriter will contact the NASD Corporate Financing Department when it is negotiating a waiver or termination of a right of first refusal to obtain information on whether additional compensation is available under the compensation guideline applicable to the original offering.
5 The NASD does not include the payment to waive or terminate a right of first refusal as compensation in connection with its review of the subsequent offering of securities. The rule change does not modify this practice.
Text Of Amendments
(Note: New text is underlined; deletions are bracketed.)
The Corporate Financing Rule
Underwriting Terms and Arrangements
Article III, Section 44 of the Rules of Fair Practice
(a) and (b) No change.
(c) Underwriting Compensation and Arrangements
(1) and (2) No change.
(3) Items of Compensation
(A) For purposes of determining the amount of underwriting compensation received or to be received by the underwriter and related persons pursuant to paragraph (c)(2) above, the following items and all other items of value received or to be received by the underwriter and related persons in connection with or related to the distribution of the offering, as determined pursuant to paragraph (c)(4) below shall be included:
(i) through (viii) No change.
(ix) any right of first refusal provided to the underwriter and related persons to underwrite or participate in future public offerings, private placements or other financings [by the issuer], which will have a compensation value of one percent (1 %) of the offering proceeds or that dollar amount contractually agreed to by the issuer and underwriter to waive or terminate the right of first refusal;
(6) Unreasonable Terms and Arrangements
(A) No change.
(B) Without limiting the foregoing, the following terms and arrangements, when proposed in connection with the distribution of a public offering of securities, shall be unfair and unreasonable:
(i) through (iv) No change.
(v) any right of first refusal provided to the underwriter or related persons [regarding] to underwrite or participate in future public offerings, private placements or other financings which:
(1) has a duration of more than [five (5)] three (3) years from the effective date of the offering; or
(2) has more than one opportunity to waive or terminate the right of first refusal in consideration of any payment or fee;
(vi) any payment or fee to waive or terminate a right of first refusal regarding future public offerings, private placements or other financings provided to the underwriter and related persons which:
(1) has a value in excess of the greater of one percent (1 %) of the offering proceeds in the public offering where the right of first refusal was granted (or an amount in excess of one percent if additional compensation is available under the compensation guideline of the original offering) or five percent (5%) of the underwriting discount or commission paid in connection with the future financing (including any overallotment option that may be exercised), regardless of whether the payment or fee is negotiated at the time of or subsequent to the original public offering: or
(2) is not paid in cash. Subsections (vi) through (xii) are renumbered (vii) through (xiii).
Notice Suggested Routing


text:
#include "DefaultSSLSocketFactory.h"

#include <decaf/io/IOException.h>

using namespace decaf;
using namespace decaf::io;
using namespace decaf::net;
using namespace decaf::net::ssl;
using namespace decaf::internal;
using namespace decaf::internal::net;
using namespace decaf::internal::net::ssl;

////////////////////////////////////////////////////////////////////////////////
DefaultSSLSocketFactory::DefaultSSLSocketFactory( const std::string& errorMessage ) :
     SSLSocketFactory(), errorMessage( errorMessage ) {
}

////////////////////////////////////////////////////////////////////////////////
DefaultSSLSocketFactory::~DefaultSSLSocketFactory() {
}

////////////////////////////////////////////////////////////////////////////////
decaf::net::Socket* DefaultSSLSocketFactory::createSocket() {

    throw IOException( __FILE__, __LINE__, errorMessage.c_str() );
}

////////////////////////////////////////////////////////////////////////////////
Socket* DefaultSSLSocketFactory::createSocket( const decaf::net::InetAddress* host DECAF_UNUSED, int port DECAF_UNUSED ) {

    throw IOException( __FILE__, __LINE__, errorMessage.c_str() );
}

////////////////////////////////////////////////////////////////////////////////
Socket* DefaultSSLSocketFactory::createSocket( const decaf::net::InetAddress* host DECAF_UNUSED, int port DECAF_UNUSED,
                                               const decaf::net::InetAddress* ifAddress DECAF_UNUSED, int localPort DECAF_UNUSED ) {

    throw IOException( __FILE__, __LINE__, errorMessage.c_str() );
}

////////////////////////////////////////////////////////////////////////////////
decaf::net::Socket* DefaultSSLSocketFactory::createSocket( const std::string& name DECAF_UNUSED, int port DECAF_UNUSED ) {

    throw IOException( __FILE__, __LINE__, errorMessage.c_str() );
}

////////////////////////////////////////////////////////////////////////////////
decaf::net::Socket* DefaultSSLSocketFactory::createSocket( const std::string& name DECAF_UNUSED, int port DECAF_UNUSED,
                                                           const InetAddress* ifAddress DECAF_UNUSED, int localPort DECAF_UNUSED ) {

    throw IOException( __FILE__, __LINE__, errorMessage.c_str() );
}

////////////////////////////////////////////////////////////////////////////////
std::vector<std::string> DefaultSSLSocketFactory::getDefaultCipherSuites() {

    return std::vector<std::string>();
}

////////////////////////////////////////////////////////////////////////////////
std::vector<std::string> DefaultSSLSocketFactory::getSupportedCipherSuites() {

    return std::vector<std::string>();
}

////////////////////////////////////////////////////////////////////////////////
Socket* DefaultSSLSocketFactory::createSocket( Socket* socket DECAF_UNUSED, std::string host DECAF_UNUSED,
                                               int port DECAF_UNUSED, bool autoClose DECAF_UNUSED ) {

    throw IOException( __FILE__, __LINE__, errorMessage.c_str() );
}

redpajama_set_name: RedPajamaGithub


In September 2011, Mathias Jansson talked to Laura Baigorri, Professor at the School of Fine Arts, University of Barcelona.
Laura Baigorri's main focus is on Art and New Media. Baigorri combines her teaching experience with research, criticism, curatorial work and development of online projects. She has penned articles and essays on art and activism on the Net, video-art and game art, and the books: Net.art. Prácticas estéticas y políticas en la Red (2006), Vídeo. Primera etapa (2004) and Vídeo en Latinoamérica. Una historia crítica (2008).
Gamescenes: Your initial interest was on video art and avant-garde movements. Do you consider Game Art an evolution of Video Art and/or a new form of avant-garde?
Laura Baigorri: I have done a lot of research on the relationship between video art and net.art. I specialized in the history of video art and I was able to witness the emergence of net.art as an art form as it happened, back in the days. In regard to Game Art, I cannot really say if it represents an evolution of video art - especially because it is so recent - but of course there are many similarities between the two. These new forms of art appeared when artists decided to use new media and appropriate forms of popular entertainment to create their work; in a sense, they are both imitating Marcel Duchamp's strategy with the ready-made: they chose something that was already available and transformed it into a work of art. However I don't believe that Game Art's acceptance has been slow because the art scene is now operating differently than in the 1970s. These days, news travel fast whereas before, it took decades for video art to find its niche and to be accepted, both institutional and commercially. Now, for a new "thing" it takes just a few months. Game art and net.art were quickly accepted by art institutions - with some reluctance yes, but mostly were eager to "discover" this new form of media art - because of its character of "novelty" and because of its commercial implications - games are extremely popular with teenagers, who are not usually interested in art.
Gamescenes: You were one of the curators of one of the most important Game Art exhibitions ever staged, Homo Ludens Ludens at Laboral, a follow-up to GameWorld and Playware. Can you discuss your goals for this ambitious trilogy of exhibitions?
Laura Baigorri: I worked with Daphne Dragona and Erich Berger for Homo Ludens Ludens (2008) at Laboral Centro de Arte and Industrial creation in Gijón. It featured 32 works created by international artists and a big international symposium that required a lot of effort of preparation on our part. Unlike the two previous macro-exhibitions, Gameworld and Playware, we decided to incorporate works that alluded to such notions of game and play, but were not specific examples of game art, because for us it was important to take into account the historical and contemporary frames; references, connections, and consequences of play. Thus, we incorporate works of disparate artists, e.g. Guy Debord -la derive-, Fluxus -interview with Maciunas talking about art and amusement- and a video of William Wegman - Two dogs & ball (1972)- coupled with Tokyo Arcade Warriors (2005) by Axel Stockburger; also, documentaries like Marcin Ramocki and Justin Strawhand's 8-bit (2006) and Ge Jin 's Gold Farmers (2006).
Overall, they were really impressive exhibitions, all well received by the visitors and by the media. One should not forget that these exhibitions were also fun and interactive. But they did not have a long lasting impact, I believe. The did not produce any big shocks in the system, that is, the art world. At the time, most outlets talked a great deal about our exhibitions and Game Art developed in interesting ways, mostly in non-thematic exhibitions. But as a field, Game Art remains niche.
GameScenes: What happened in Spain after Homo Ludens Ludens? What was the impact of that exhibition on the acceptance and development of Game Art in Spain and in Europe?
Laura Baigorri: After Homo Ludens Ludens Laboral of Gijón hosted two more Game Art exhibitions, Arcadia (2009) curated by José Luis de Vicente and Playlist (2010) curated by Domenico Quaranta, but there have not been others so far. In any case, I think it is more important that the conversation about games and art continues elsewhere, with conferences, seminars, and workshops. I don't want to underestimate the importance of giant exhibitions. But an art movement cannot survive without a healthy, ongoing dialogue. Exhibitions are useful for archival reasons, mostly.
The current crisis in both education and in the artworld is complicating everything. It has hard to plan new events as funds are thinner than ever. Spain has dramatically cut most investments for cultural and artistic events. Ironically, this had unexpected consequences, such as the massive promotion of young artists, whose pecuniary demands are much lower than those of established, recognized artists. Let's call it a "low-cost" artworld, think Ryanair, but for the art scene. Blessing in disguise?
I am currently preparing a series workshops on video games (October 2011) for the Universidad Pontificia Bolivariana in Medellín (Colombia,) in a clever formula which brings together an academic - an art history teacher - (myself, in this case), a video game designer, and an engineer. This format has been well received in Latin America and sparked considerable interest in Game Art. Today, Argentina, Peru and Colombia are among the most lively country for this young artform.
GameScenes: What is the role and importance of New Media Art, and especially Game Art, at your own institution, the University of Barcelona?
Laura Baigorri: At the Faculty of Fine Arts of Barcelona, we have been teaching video art for about thirty years. When I joined this institution, in 1993, it became a specific subject. Subsequently, my colleagues expanded the discipline to incorporate more types of new media art. Now, we offer specific courses on video art, interactive art, robotics, theory of digital art, etc.... In my classes of "final projects", I talk about game art in some sessions. My approach is critical. I don't teach design or production.
GameScenes: What videogames have influenced or affected your personal history as a curator, as an academic, and as a gamer?
I was interested in game art of a collateral form. In 2005, some colleagues of the University of the País Vasco asked me that put in context critically a seminar on the subject, but although I was working in 2002 on the monograph Art and Game in Caixaforum Barcelona, I told them that I had no authority to do so. They insisted, and we finally reached a compromise: I would do an approximation to the game from a context that was much closer for me, the critical art (social and political) context. Thus, my examination in January 2006 evolved into a seminar Game as critic as art which I organized at Caixaforum in Barcelona. A fruitful event indeed: creators and experts shared their experiences during two intensive days leading to subsequent collaborations; these specialist were Gonzalo Frasca (Ludology), Anne-Marie Schleiner (Opensorcery), Rafael Fajardo (Crosser y La Migra), Radwan Kasmiya (Afkarmedia), Katharine Wild (Escape from Woomera), and Flavio Escribano (Arsgames).
In 2007, I produced another thematic curatorial work entitled En la brecha. Videojuegos sobre fronteras e inmigración. (In the gap. Video games on borders and immigration) in the Bienal Arte Nuevo Interactiva07 of Mérida (Mexico) and then I already was expanding the field to all kinds of works of game art because I consider it to be one aspect of the New Media art. In any case, my main interest has always been the artworld, not games.
GameScenes: ¿En su investigación sobre el Game art ves algún parecido entre la historia de videoarte y la del Game art? Me refiero a cómo se utiliza un medio nuevo por artistas y cómo es lentamente aceptado por la escena del arte.
Laura Baigorri: He investigado bastante sobre las relaciones entre videoarte y net.art porque estaba especializada en la historia del primero y pude asistir en tiempo real a la aparición del net.art como forma de arte. Con el game art no he profundizado tanto, pero por supuesto se encuentran muchas similitudes. Son nuevas formas de arte que aparecen cuando los artistas deciden utilizar medios de comunicación y ocio; en realidad, están haciendo lo mismo que Duchamp con el ready-made: escoger algo que ya estaba ahí y hacer arte. Sin embargo no creo que su aceptación haya sido lenta porque la escena del arte no funciona ahora como en los 70: está ávida de incorporar novedades y lo que en la era del vídeo tardó años en aceptarse, tanto institucional como comercialmente, ahora es cuestión de meses. Net.art y game art fueron muy rápidamente aceptados por los centros de arte, con algunas reticencias sí, pero ya muy pocas porque su carácter de "novedad" y el interés que despertaron en el público joven se impuso a otros condicionantes (comerciales).
GameScenes: Fuiste co-curadora de la exposición Homo Ludens Ludens ¿Esta trilogía sobre videojuegos y arte cambió posteriormente el interés de España? ¿El interés aumentó con más investigación, exposiciones y artistas que trabajan con videojuegos y arte? ¿Cuál fue el efecto de las exposiciones?
Laura Baigorri: Trabajé con Daphne Dragona y Erich Berger en la curaduría de Homo Ludens Ludens (2008), en Laboral Centro de Arte y Creación Industrial de Gijón con una muestra de 32 piezas de artistas y con un gran simposio internacional que exigieron mucho esfuerzo. Una de sus particularidades de nuestro criterio curatorial respecto a las dos anteriores macro-muestras, Gameworld y Playware, fue incorporar obras que aludían al juego o a lo lúdico, pero que no eran directamente game art porque nos pareció importante tener en cuenta la contextualización histórica y contemporánea; los referentes, las conexiones y las consecuencias. Así, incorporamos obras de Guy Debord -sobre la deriva-, de Fluxus -entrevista a Maciunas hablando del art/amusement-, y un vídeo de William Wegman -Two dogs & ball (1972)- que hacía pareja con Tokyo Arcade Warriors (2005) de Axel Stockburger; también documentales como 8 bit (2006) de Marcin Ramocki y Justin Strawhand, o Gold Farmers (2006) de Ge Jin.
Realmente fueron exposiciones impactantes que despertaron una gran curiosidad en el público -hay que tener en cuenta las dosis de diversión/ocio que muchas de las piezas incorporaban-, pero creo que a la larga no han supuesto ningún revulsivo en el mundo del arte. En su momento se habló bastante de ellas y después se han incorporado con toda naturalidad obras de game art en muestras no temáticas, pero el campo sigue siendo limitado.
GameScenes: ¿Cuáles es la posición de New Media Art y especialmente del Game art, en tu Facultad de la Universidad de Barcelona? Si he comprendido bien, ¿Daphne Dragona, Gonzalo Frasca o Julian Oliver han conectado con su institución?
Laura Baigorri: En la Facultad de Bellas Artes de Barcelona se comenzó impartiendo vídeo hace unos 30 años. En 1993 me incorporé yo, dándolo ya como asignatura específica y después otros colegas fue ampliando el campo a cualquier tipo de new media art. Actualmente hay clases específicas de videoarte, interactivos, robótica, teoría del arte digital, etc.… Personalmente, en mis clases de proyectos finales suelo dedicar algunas sesiones al game art, siempre desde una faceta de análisis crítico, no de producción.
A Daphne, Gonzalo y Julian les conozco de haber coincidido en simposios (como Mediaterra de Atenas), conferencias, exposiciones, etc... Todavía no han venido nunca a la facultad, pero es algo que por supuesto está ahí. Como no tenemos demasiado presupuesto es cuestión de aprovechar sus viajes a Barcelona.
GameScenes: ¿Puede decirme alguno de sus primeros recuerdos de videojuegos? ¿Le han afectado los juegos y le han hecho interesarse por este medio?
Laura Baigorri: Bueno, creo que en esto soy un caso completamente atípico. Debo ser la única investigadora de game art que no es, ni ha sido nunca, jugadora. Ello es debido a que tengo 52 años y, por lo tanto, pertenezco a una generación anterior -cuando los videojuegos se introdujeron en España yo ya tenía más de 20 años y me interesaban otro tipo de experiencias-. ¿Qué es lo que hago para poder escribir sobre ellos o para hacer curadorías? Pues por supuesto jugarlos si son relativamente sencillos, si no, tengo amigos que los juegan mientras les observo y/o les vuelvo locos a preguntas.
Me interesé por el game art de una forma colateral. En 2005, unos colegas de la Universidad del País Vasco me pidieron que contextualizara de forma crítica un seminario sobre el tema pero, aunque había trabajado en 2002 sobre el monográfico de net.art Arte y Juego en Caixaforum Barcelona, les respondí que no tenía competencia para hacerlo. Insistieron bastante y finalmente acordamos que haría una aproximación al videojuego desde un contexto que me resultaba mucho más próximo, el del arte crítico (social y político). Así surgió una investigación que en enero de 2006 se consolidó en el seminario Game as critic as art que organicé en Caixaforum de Barcelona. Fue un evento fructífero porque allí creadores y especialistas compartieron sus experiencias durante dos intensivos días propiciando posteriores colaboraciones; éstos eran Gonzalo Frasca (Ludology), Anne-Marie Schleiner (Opensorcery), Rafael Fajardo (Crosser y La Migra), Radwan Kasmiya (Afkarmedia), Katharine Wild (Escape from Woomera) y Flavio Escribano (Arsgames).
En 2007 realicé otro comisariado temático titulado En la brecha. Videojuegos sobre fronteras e inmigración en la Bienal Arte Nuevo Interactiva07 de Mérida (México) y después ya fui ampliando el campo a todo tipo de obras del game art porque lo considero una faceta más del New Media Art. En cualquier caso, mi punto de anclaje ha sido siempre el mundo del arte, no el del juego.
Laura Baigorri: Tras Homo Ludens Ludens se hicieron otras dos grandes exposiciones en la Laboral de Gijón, Arcadia (2009) de José Luis de Vicente y Playlist (2010) de Domenico Quaranta, pero por ahora no se ha hecho ninguna otra de esas características. En cualquier caso, creo que es más importante que se incorporen con normalidad las obras de game art al mundo del arte y que se incentive la investigación con conferencias, seminarios y la producción con talleres, porque las muestras gigantes tienen sentido sólo de tanto en tanto, como impulso inicial o como antológicas.
En la actualidad, "la crisis" hace muy difícil proponer y programar ya casi cualquier tipo de evento. En España se ha recortado muchísimo el presupuesto para cultura y se ha producido una situación curiosa, la masiva promoción de jóvenes artistas, pues muchos centros priorizan obras y programas de "nuevos valores" o, lo que es lo mismo, "de bajo costo".
En este momento estoy preparando unos talleres sobre videojuegos (octubre 2011) para la Universidad Pontificia Bolivariana de Medellín (Colombia) en una fórmula muy inteligente que reúne a un profesor especialista en arte (yo en este caso), un ingeniero y un diseñador de videojuegos. Hace unos años que se ha despertado bastante interés por el game art en Latinoamérica y desde Argentina, Perú y Colombia se producen obras en este campo.


text:
Animal Studies: Kafka's Animal Stories
Axel Goodbody
Kafka has not tended to feature in accounts of the ecocritical canon. However, there are two important grounds for examining his animal stories in this volume. On the one hand, they introduced radical innovations in the use of animals as literary symbols. And on the other, they have inspired thinkers and writers since the 1970s with their destabilisation of accepted notions of human distinctiveness from non-human animals. Kafka challenged the common understanding of human identity by foregrounding our animality and drawing attention to the agency of animals. The chapter first traces the emergence of Animal Studies as a dynamic trend in contemporary cultural studies, before examining the stories "Metamorphosis" and "A Report to an Academy" as examples of Kafka's zoopoetics and zoontology respectively. It concludes by reflecting on the contribution of literary animal writing to cultural ecology.
Handbook of Ecocriticism and Cultural Ecology
Handbook of English and American Studies
Animal Studies; Kafka; zoopoetics; zoontology; anthropomorphism
Animal Studies Ecocriticism and Kafkas Animal Stories 4Accepted author manuscript, 346 KB
http://www.degruyter.com/view/product/206422
Fingerprint Dive into the research topics of 'Animal Studies: Kafka's Animal Stories'. Together they form a unique fingerprint.
Animal Story Arts & Humanities
Franz Kafka Arts & Humanities
Animals Arts & Humanities
Cultural Ecology Arts & Humanities
Cultural Studies Arts & Humanities
Metamorphoses Arts & Humanities
Animality Arts & Humanities
Politics, Languages & International Studies - Emeritus Professor
Person: Honorary / Visiting Staff
Goodbody, A. (2016). Animal Studies: Kafka's Animal Stories. In Handbook of Ecocriticism and Cultural Ecology (pp. 249-272). (Handbook of English and American Studies; Vol. 2). De Gruyter.
Animal Studies : Kafka's Animal Stories. / Goodbody, Axel.
Handbook of Ecocriticism and Cultural Ecology. Berlin : De Gruyter, 2016. p. 249-272 (Handbook of English and American Studies; Vol. 2).
Goodbody, A 2016, Animal Studies: Kafka's Animal Stories. in Handbook of Ecocriticism and Cultural Ecology. Handbook of English and American Studies, vol. 2, De Gruyter, Berlin, pp. 249-272.
Goodbody A. Animal Studies: Kafka's Animal Stories. In Handbook of Ecocriticism and Cultural Ecology. Berlin: De Gruyter. 2016. p. 249-272. (Handbook of English and American Studies).
Goodbody, Axel. / Animal Studies : Kafka's Animal Stories. Handbook of Ecocriticism and Cultural Ecology. Berlin : De Gruyter, 2016. pp. 249-272 (Handbook of English and American Studies).
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AB - Kafka has not tended to feature in accounts of the ecocritical canon. However, there are two important grounds for examining his animal stories in this volume. On the one hand, they introduced radical innovations in the use of animals as literary symbols. And on the other, they have inspired thinkers and writers since the 1970s with their destabilisation of accepted notions of human distinctiveness from non-human animals. Kafka challenged the common understanding of human identity by foregrounding our animality and drawing attention to the agency of animals. The chapter first traces the emergence of Animal Studies as a dynamic trend in contemporary cultural studies, before examining the stories "Metamorphosis" and "A Report to an Academy" as examples of Kafka's zoopoetics and zoontology respectively. It concludes by reflecting on the contribution of literary animal writing to cultural ecology.
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text:
() est un film tchèque, britannique, allemand, danois, italien et français réalisé par Jan Svěrák, sorti en 2001.

Synopsis
Franta et Karel sont deux pilotes tchèques qui s'engagent dans la Royal Air Force après avoir échappé à l'occupation nazie en Tchécoslovaquie. Mais les deux amis tombent amoureux de la même femme.

L'intérêt de ce film est aussi de montrer ce qu'il est advenu aux pilotes qui ont, à la fin de la Seconde Guerre mondiale, rejoint la Tchécoslovaquie ; un destin peu enviable après avoir échappé à la mort dans les airs.

D'après les spécialistes français de l'aviation de cette période, ce film est une des meilleures et des plus fidèles représentations de la vie d'une unité combattante de la RAF.

Fiche technique
 Titre original :
 Titre anglophone :
 Réalisation : Jan Svěrák
 Scénario : Zdeněk Svěrák
 Distribution :  : TFM Distribution
 Pays d'origine : , , , , ,
 Genre  : guerre, drame,
 Durée : 112 minutes

Distribution
  : Frantisek Sláma
  : Karel Vojtisek
 Tara Fitzgerald : Susan
 Charles Dance : Commandant Bentley
  : Machatý
  : Bedrich Mrtvý
  : Hanicka
  : Kanka
 Lukás Kantor : Tom Tom
  : Sysel
 Juraj Bernáth : Gregora
 Miroslav Táborský : Houf
 Hans-Jörg Assmann : Dr. Blaschke
 Thure Riefenstein : Lieutenant Hesse
 Anna Massey : Professeur d'anglais

Liens externes

Film britannique sorti en 2001
Film italien sorti en 2001
Film allemand sorti en 2001
Film tchèque sorti en 2001
Film danois sorti en 2001
Film réalisé par Jan Svěrák
Film sur la bataille d'Angleterre
Aviation au cinéma
Film de guerre britannique
Film dramatique britannique
Film dramatique italien
Film dramatique danois
Film dramatique allemand
Film dramatique tchèque
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AffordableHousingOnline
Section 8 Waitlists
Public Housing Waitlists
Open Section 8 Waiting List Report - January 17, 2022
HUD News in Review - January 12, 2022
View The Latest Affordable Housing News
Red Wing Housing and Redevelopment Authority
Red Wing, Goodhue County, Minnesota 55066
Red Wing Housing and Redevelopment Authority is a housing authority that participates in the Section 8 Housing Choice Voucher (HCV), and Public Housing programs. As of January 18th, 2022, Red Wing Housing and Redevelopment Authority has 1 waiting lists that are open now or opening soon.
Red Wing Housing and Redevelopment Authority serves Red Wing.
Waiting List Statuses
Red Wing Housing and Redevelopment Authority Public Housing Open Until Further Notice
Red Wing, Minnesota Housing Choice Voucher Closed
Open Red Wing Housing and Redevelopment Authority Waiting Lists
During the coronavirus (COVID-19) outbreak, some waiting list openings may be postponed until further notice. Application methods may change, as well. Visit the housing authority's website for the latest on its current operations, if one is available. If there is no information online, you can contact the housing authority directly. Office operations may be different from usual, and it may take days or weeks to get a response.
Red Wing Housing and Redevelopment Authority Website: http://www.redwinghra.org/.
Red Wing Housing and Redevelopment Authority Phone: (651) 388-7571.
Open Until Further Notice: Public Housing Waiting List
Please Note: Due to the decentralized nature of affordable housing information, the information about this waiting list may be out of date.
How To Apply to the Waiting List
The Red Wing Housing and Redevelopment Authority (RWHRA) is currently accepting Public Housing waiting list pre-applications for families and senior/disabled households.
The RWHRA offers one Public Housing community with 119 units for families and senior/disabled individuals, ranging in size from 1 to 4 bedrooms.
Visit the RWHRA to pick up a pre-application, located at 428 West Fifth Street, Red Wing, MN 55066 during normal office hours.
Request to have a pre-application mailed to you by calling 651-388-7571 during normal office hours.
Download the pre-application online here, then print and complete.
Once the pre-application has been completed, it can be mailed or hand delivered to the address listed above.
Be sure to include these documents with the pre-application: Copy of Birth Certificates and Social security cards.
The RWHRA does have a preference for: Elderly, disabled, or applicants that live and/or work in Red Wing.
For more information, visit the RWHRA website or call the office at (651) 388-7571 during normal office hours.
Applicants who need help completing the application due to disability can make a reasonable accommodation request to the housing authority via (651)388-7571.
Learn more about what happens after the application is submitted.
Last Updated on 08/28/2015.
Other Red Wing Housing and Redevelopment Authority Waiting Lists
Closed: Red Wing, Minnesota Housing Choice Voucher Waiting List
The Red Wing Housing and Redevelopment Authority (RWHRA) Section 8 Housing Choice Voucher waiting list is currently closed. Applications were last accepted from April 11, 2016 until April 1, 2021. There is no notice of when this waiting list will reopen.
To apply during the opening period, applicants were required to complete the online pre-application.
Preferences have not yet been confirmed.
Selected applicants were placed on the waiting list by date and time the application was received.
For more information, visit the RWHRA website.
Sources: This information was verified by the RWHRA public notice on August 13, 2021.
This waiting list is for rental assistance in Red Wing, Minnesota .
About Red Wing Housing and Redevelopment Authority
More information about Red Wing Housing and Redevelopment Authority can be found on its website at http://www.redwinghra.org/.
Representatives of Red Wing Housing and Redevelopment Authority may be available by phone at (651) 388-7571. Unless otherwise noted above, applications will not be provided or accepted by phone.
HCV Portability Status
As of 01/18/2022, it is not known if Red Wing Housing and Redevelopment Authority is either absorbing or billing Section 8 Housing Choice Voucher portability requests for porting in. Learn more about porting Housing Choice Vouchers to a new area here.
About the Red Wing Housing and Redevelopment Authority Section 8 Housing Choice Voucher Program
As of the HUDs most recent Voucher Management System report, Red Wing Housing and Redevelopment Authority manages 123 active Housing Choice Vouchers.
The following is a summary of the types of vouchers managed and the monthly costs of each as of September 30th, 2021:
Ported Out
Monthly Cost Per Voucher
Household Characteristics of Voucher Holders for Red Wing Housing and Redevelopment Authority
Waiting List and Tenancy
According to the 2016 Q4 Picture of Subsidized Households database, the housing authority's voucher program has an annual turnover of 19% having issued approximately 8 vouchers in the past year. The average voucher holder has received housing benefits for 5 years and 10 months. According to the 2016 PSH database, persons who were issued a voucher in the preceding 12 months waited an average of 25 months on the waiting list1.
Income Characteristics
According to 2016 Q4 Picture of Subsidized Households data, the average voucher household contains 2.2 persons and has a household income of $14,514 per year. 99% of households were very low income (VLI) and 69% were extremely low income (ELI). 34% of households had wages as a major source of income, 5% of households had welfare (TANF, General Assistance or Public Assistance) as their primary source of income, and 53% of households had other income (Social Security, Disability or Pension) as their major source of income.
Heads of Household Characteristics
7% of households were headed by a person 24 years old or less, 52% were headed by a person 25 to 49 years old, 22% were headed by a person 51 to 60 years old, and 19% were headed by a person 62 years old or older. In addition, 1% of households were headed by a person 85 years old or older.
50% of households included children, 3% of which had two adults in the household. 47% of households with children have a female head of household. 82% of all households were headed by a female.
35% of all voucher households were headed by minorities with 27% of all heads of households being Black and 1% being Hispanic.
Of all households participating in the Red Wing Housing and Redevelopment Authority Housing Choice Voucher program, 17% include at least one person with a disability. 40% of households with a head of household 61 years or less were headed by a person with a disability. 4% of households headed by someone 62 or older were headed by a person with a disability.
Bedroom Size and Overhousing
25% of voucher holders reside in a home with zero or 1 bedroom, 42% with 2 bedrooms and 33% with 3 or more bedrooms. 24% of voucher recipients are considered overhoused, meaning they occupy a rental unit larger than their family size requires.
Rent, Assistance, and Utility Allowances
The average monthly tenant contribution to rent by Red Wing Housing and Redevelopment Authority voucher holders in 2016 was $373 and the average monthly HUD expenditure per voucher holder was $481. The average utility allowance across all voucher recipients is $68.
1. This Picture of Subsidized Households data field is the average wait time of those who received a voucher in the preceding 12 months. Due to special voucher programs like VASH, recent waiting list purges, or waiting list preferences the average wait time can vary significantly from one year to the next and it is entirely possible many current applicants on the waiting list have been waiting for assistance for far longer.
Public Housing Apartments Operated by Red Wing Housing and Redevelopment Authority
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Timothy Ray Walker
Timothy Ray Walker, 38, of Greenbrier, passed away on October 1, 2019.
He was born on September 30, 1981 in Monticello.
Mr. Walker was a Baptist and was self-employed in pipeline business. He served in the United States Army from January 2002 until March 2010 as a Pvt. first class. He served in Operation Iraqi Freedom and was awarded an Expert Marksman Badge.
Mr. Walker is survived by his wife, Jessica Walker, Greenbrier; his mother and stepfather, Karen and Walter Trantham of Wilmar; father and stepmother, Paul and Anita Walker of Monticello; five children, Riley, Aubree, Adalyn, Cody and Jaden; two brothers, Cody (Jala) Walker, Collierville, Tennessee and Casey (Kassie) Walker of Monticello; one sister, Amy (Jamie) Wolfe of Bradley County.
A graveside service will be held on Wednesday, October 9, at 1 p.m. at Arkansas Veterans Cemetery in North Little Rock.
Memorials may be made to Wounded Warriors Project, P.O. Box 758516, Topeka, KS 66675-8516 or Donor's Choice.
Arrangements by Griffin Funeral Home of Dumas.


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Un oiseau de feu (du russe : жар-птица, jar-ptitsa) est un oiseau légendaire issu du folklore des pays slaves (Russie, Pologne, Ukraine…). Paré de plumes rougeoyantes et venu d'une terre lointaine, il représente en même temps une bénédiction et une malédiction pour celui qui le capture.

La légende a été popularisée par le ballet L'Oiseau de feu, composé en 1909-1910 par Igor Stravinsky pour les Ballets russes de Serge Diaghilev.

Description

L'oiseau de feu est invariablement décrit comme un grand oiseau dont le plumage majestueux irradie une lumière rouge, orange et jaune — telle la flamme turbulente d'un feu. Ses plumes ne cessent pas de rougeoyer, même détachées du corps ; une simple plume peut ainsi éclairer une grande salle, si elle n'est pas dissimulée. Dans l'iconographie la plus récente, l'aspect de l'oiseau de feu est habituellement celui d'un paon aux couleurs de feu, complété d'une crête sur la tête, et à l'extrémité des plumes de sa queue, des « yeux » rougeoyants.

Dans les contes de fées, l'oiseau de feu est typiquement l'objet difficile à trouver dans une quête. La quête débute habituellement par la découverte par le héros d'une plume perdue (de la queue de l'oiseau), à partir de laquelle le héros se met en route pour trouver et capturer l'oiseau vivant.

Le mot russe птица (ptitsa) étant féminin, l'Oiseau de feu est envisagé par les Russes comme un être féminin, raison pour laquelle on traduit parfois par « l'Oiselle de feu ».

Contes russes

L'oiseau de feu apparaît dans les contes traditionnels russes suivants, recensés par Alexandre Afanassiev dans ses Contes populaires russes :
 Conte d'Ivan-tsarévitch, de l'oiseau de feu et du loup gris (Сказка об Иване-царевиче, жар-птице и о сером волке), numéro 110/ 168 ;
 L'Oiseau de feu et la tsarine Vassilissa (Жар-птица и Василиса-царевна), numéros 103a / 169 et 103b / 180.
 Le Lait de bête sauvage (Звериное молоко, variante 118a / 202).
On le retrouve également dans certaines versions des contes russes ou biélorusses sur le thème de Front-de-cuivre (l'homme sauvage).

Autres rapprochements
Il existe un conte de Grimm similaire intitulé L'Oiseau d'or (Der goldene Vogel, KHM 57 ; on note que dans la version allemande, malgré la similarité évidente, il s'agit d'un oiseau d'or et non de feu). L'auxiliaire du héros y est représenté par un renard. Un oiseau de feu (en ) apparaît également dans le conte KHM 197 (Die Krystallkugel, « La Boule de cristal »), mais l'épisode se rapproche du conte-type AT 302 (« Le Cœur de l'ogre (ou du Diable] dans l'œuf »).

Notes et références

Annexes

Articles connexes
 Phénix, oiseau mythique
 Turul, oiseau mythique magyar
 Malek Taus, ange-paon dans la religion yézidie
 Front-de-cuivre
 Le Petit Cheval bossu, conte de Piotr Erchov, dans lequel apparaît l'oiseau de feu.
 Le Petit Cheval bossu, film d'animation de 1947 réalisé par Ivan Ivanov-Vano, dans lequel apparaît l'oiseau de feu
L'Oiseau de feu, bande dessinée d'Andreï Arinouchkine et Corbeyran, éditions Casterman

Bibliographie
 : Source utilisée pour la rédaction de l'article
Édouard Brasey La petite encyclopédie du Merveilleux Éditions le pré aux clercs, 2008

Mythologie slave
Créature du folklore russe
Personnage de conte
Oiseau légendaire
Créature du feu


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House of Meiling: Let the games begin!
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Once we got back to camp, the Kid saddled up the horses and took off down the beach. She had a great time with some great horses and great weather.
How was the bite in general?
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Question: Who waited 40 years in the Bible?
What did Moses wait 40 years?
Who waited the longest in the Bible?
What took 40 years in the Bible?
Who Waited well in the Bible?
How long did Moses wait?
Where did Moses hide for 40 years?
What sins are not forgiven by God?
Who never died in the Bible?
How long did Adam and Eve live?
What was the significance of Jesus 40 day fast?
Why is lent 40 important?
How many died in the wilderness?
How long did Noah wait for the rain?
How old was Abraham when Isaac was born?
How are Jacob and Esau different?
Corresponding to the 40 days that the spies toured the land, God decreed that the Israelites would wander in the wilderness for 40 years as a result of their unwillingness to take the land.
Having died at the age of 969, he lived the longest of all human figures mentioned in the Bible.
Stained glass window of Methuselah from the southwest transept of Canterbury Cathedral in Kent, England
Known for Exceptionally long life
Spies were sent by Moses to explore the land of Canaan (promised to the children of Israel) for "forty days" (Numbers 13:2, 25). The Hebrew people lived in the lands outside of the promised land for "forty years". This period of years represents the time it takes for a new generation to arise (Numbers 32:13).
Joseph was waiting for a number of things
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Joseph had to wait through many troubles before he received vindication, justice and freedom, wait to see his dreams fulfilled, and wait to reunite with his family (especially his father). His story is found in Genesis 37-46.
Biblical description
According to the biblical story, Moses departed to the mountain and stayed there for 40 days and nights in order to receive the Ten Commandments and he did so twice because he broke the first set of the tablets of stone after returning from the mountain for the first time.
Later Jewish and Christian tradition assumed 40-year periods for his stay in the Egyptian court, his sojourn in Midian, and his wilderness wanderings. Most likely Moses was about 25 when he took the inspection tour among his people.
In the Christian Scriptures, there are three verses that take up the subject of unforgivable sin. In the Book of Matthew (12: 31-32), we read, "Therefore I say to you, any sin and blasphemy shall be forgiven men, but blasphemy against the Spirit shall not be forgiven.
Enoch and Elijah are said in scripture to have been taken into heaven while still alive and not experiencing physical death.
They used these variations to create a more reliable molecular clock and found that Adam lived between 120,000 and 156,000 years ago. A comparable analysis of the same men's mtDNA sequences suggested that Eve lived between 99,000 and 148,000 years ago1.
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Another suggestion is that Jesus' 40-day fast represents his vanquishing of the powers of evil, but puts it in the same light as the many exorcisms that Jesus is described as performing.
By observing the 40 days of Lent, Christians replicate Jesus Christ's sacrifice and withdrawal into the desert for 40 days. … Whereas Easter celebrates the resurrection of Jesus after his death on the cross, Lent recalls the events leading up to and including Jesus' crucifixion by Rome.
In total, an estimated 163 thousand men took place in the battle, with approximately thirty thousand becoming casualties.
Noah entered the Ark in his six hundredth year, and on the 17th day of the second month of that year "the fountains of the Great Deep burst apart and the floodgates of heaven broke open" and rain fell for forty days and forty nights until the highest mountains were covered to a depth of 15 cubits, and all earth-based …
Abraham was a hundred years old when his son Isaac was born to him.
These differences are clearly seen in Genesis 25: 27: 'And the boys grew: and Esau was a cunning hunter, a man of the field; and Jacob was a plain man, dwelling in tents. … When he grew older, Jacob was able to plan ahead and handle delayed gratification, unlike Esau who wanted immediate physical satisfaction.
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You asked: Where was the church of Corinth?


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Free Speech Political Correctness Racial issues
White university dean skewered for using N-word in context; blames Trump
Dave Huber - Assistant Editor •March 3, 2019
Another white academic is in hot water for using the N-word — in context — and this time Donald Trump is partly to blame.
Sonoma State Dean of Arts and Humanities Hollis Robbins, ironically a "noted scholar of nineteenth-century American and African American literature, film, and poetry," quoted the racial slur while reading poems by Amiri Baraka and Langston Hughes during a guest appearance in a multicultural class.
According to the Sonoma State Star, after the "incident […] spread to faculty, staff, and students on campus" Robbins invited folks to a confab so she could apologize, discuss the matter, and to "come up with a resolution moving forward."
"[M]ostly I wanted to hear the hurt. I heard the hurt, I acknowledge the hurt, and I'm sorry about the hurt deeply," Robbins said.
Citing her "lack of awareness of the campus climate," Robbins added that the last time she had read the poems three years ago, "there was no Donald Trump in the White House."
"I've learned that this hasn't been a great climate, and I apologize for not knowing that," she said.
From the story:
Among the many faculty and staff that spoke up, Cookie Garrett, the area coordinator for resident living area Beaujolais, advisor for the Black Student Union, and the staff co-chair of the Black Faculty and Staff Association, expressed herself on behalf of the black students that come to her for support.
"From a personal standpoint, as a black woman and as a professional staff member of this campus, I have heard so many things in my short time here, of where students have been offended in the classroom, have been by advisors by other students, and no one really speaks up to say this is a problem we need to address" Garrett said, addressing that many of the racial incidents that happen on campus go unreported and unresolved.
"It's the matter of the climate and the context of Sonoma State," EOP Senior Advisor Andre Bailey said. "It's not so much you, it's the systematic idea that on the basis that the issue or the issue of concern is not being taken into account from a serious standpoint. And I think it's evident to be in a room where there's not enough seats here even now." …
Sophomore Loren Smith, who was in the class, said, "I really enjoyed the poems, but it was more so an afterthought after thinking of my discomfort in that space."
"I know that you can read about it in your history books and your textbooks and your very advanced scholarly books that you've got," Crystal Jimenez, an Afro-Latinx student, told Robbins, "but you've never gone through that experience, and you're never going to understand that."
In a statement, Provost Lisa Vollendorf said "Studying historical material is an important aspect of the university experience. Yet it is important to recognize that studying material meant to be provocative in its day – and that resonates in offensive ways today – presents challenges to instructors and students alike."
It sure does, Dr. Vollendorf, but what's the end game? This is but the latest incident in which a (white) academic has been raked over the racial grievance coals for using the epithet in context. Should a campus resolution ban outright use of the term by anyone not black? Of course, there are then issues of academic freedom and the First Amendment to consider. Sonoma State is a public institution, after all.
MORE: Anger at instructor cleared for using n-word in description of n-word incident
MORE: Augsburg U. prof suspended for using N-word (in context) in class
IMAGE: Oxalis37 / Flickr.com
Dave Huber
Dave has been writing about education, politics, and entertainment for over 15 years, including a stint at the popular media bias site Newsbusters. He is a retired educator with over 25 years of service and is a member of the National Association of Scholars. Dave holds undergraduate and graduate degrees from the University of Delaware.


Last week I made a mistake, a really simple mistake that was easy to avoid. This weekend I punished myself by going fishing all weekend, just joking. I needed to clear my head and get back to being me so I'm clear and ready to trade this week. I'm ready, I hope you are too.


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text:
Another Starter Down, Another RB In
The Vikings continue to shut down injured veterans with less than a week remaining in their season.
Guard Steve Hutchinson was placed on injured reserve Tuesday after missing last week's game against the Redskins due to a concussion.
His roster spot has been filled by running back Jordan Todman, whom was signed away from the Chargers practice squad after they selected him in the sixth round of the 2011 NFL Draft.
Todman replaced Donald Brown as Connecticut's primary runner in 2010 and performed quite well. At 5' 9" and 203 pounds he ran a 4.44 at the Combine and showed solid hands during his college years.
With Adrian Peterson indefinitely sidelined the Vikings now have Toby Gerhart, Lorenzo Booker, Caleb King, and Todman rounding out their depth chart.
As far as Hutchinson goes, he may never suit up as a Vikings again, as sad as it is to say. He is owed $6.95 million for 2012, has had injury troubles the last few seasons, is almost 35 years old, and has seen his production decline pretty rapidly of late.
Hutchinson is the only Vikings that is known to have a no-trade clause in his contract.


text:
var vertx = require('vertx');
var eb = require('vertx/event_bus');
var console = require('vertx/console');

eb.registerHandler('filter', function(message) {
    var filter = vertx.getMap('filter');
    filter.put('value', message);
    console.log('Received filter value: ' + message);
});

eb.publish('filter', '*');


text:
Q: Java optional class method cannot be resolved Given a class Student and its associated method getGrade
class Student{
    public int getGrade(int age){
        return age - 6;
    }
}

When I use the Optional class and call the function getGrade, it resulted in a compilation error with invalid method reference.
import java.util.Optional;
public class Classroom {
    public static void main(String[] args) {

        Student s = new Student();
        Optional<Student> optStu = Optional.ofNullable(s);
        System.out.println(optStu.map(optStu::getGrade));
    }
}

What do I need to change in the sout to print the age of the student?

A: optStu.ifPresent(student -> System.out.println(student.getGrade()));

or
optStu.map(Student::getGrade).ifPresent(System.out::println);

Edit
My bad, I didn't notice getGrade() has a parameter.
In short, there is no way to use a lambda expression using :: operator when getGrade() requires a parameter. You can only use the first method:
optStu.ifPresent(student -> System.out.println(student.getGrade(100)));


It's located upstairs in the Riddell Centre. But if people don't have time to stop in for a chat, UR Pride is updating their website for the new year.
Dan Shier is responsible for getting that site up and running for University of Regina Students.
The website has become an invaluable tool for the club since it was launched when the group was still known as GBLUR in late 2008 and early 2009. UR Pride uses the website to collect donations, organize volunteers, collect memberships, and inform people of news and events. With the future upgrades, UR Pride hopes to make learning about the group and its events easier.
The website will, of course, still represent UR Pride and its members. The website was made to feel like a place students could expect open minds, while keeping the group's values at the heart of it. Those who peruse the website can look forward to having all the resources they had before, with general improvements all around. For instance, the website will feature an easier way for visitors to post comments for the group.
While there is a temporary site available, the new site is still being perfected. Until it is launched, students looking for information about UR Pride or to wishes to contact the group can log on to their current site, urpride.ca, or pay them a visit in room 225 in the Riddell Centre.
Looking towards the future, UR Pride has big hopes for this new site. Shier can foresee a time when the site could become a source of pride for the group, and an important tool for those looking for information on sexual diversity throughout the rest of the province.